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Slenderman, for ShadowFinder (Starfinder-Compatible)

So, if I DO a ShadowFinder rpg, or campaign book, or Starfinder hack, or whatever, obviously it’s going to involve adventures that include fighting things (because if it didn’t, I’d pick a different game system). While part of the point of doing something compatible with an existing game system is to make all the existing options available for use as a GM pleases, we’d obviously need some other, new things.

So, what will PCs oppose in a ShadowFinder campaign?

Creepy things. Like a SlenderMan.

(Slenderman art (c) Jacob Blackmon, and used with permission. Check out his Patreon here!)

Apóleipa, Innocence-Eater (Slenderman) (Combatant)
CR 7
XP 3,200
CE Medium fey (Extraplanar)
Init +6; Senses blindsight (emotion) 30 ft., low-light vision; Perception +14
Defense HP 98
EAC 19; KAC 20
Defensive Abilities Only the Fearless (DR/Resist all energy 10 vs attacks from frightened foes), Tilted Away
Fort +6; Ref +8; Will +10;
Offense
Speed 40 ft.
Melee touch +13 (2d4+7 B), critical: staggered 1d4 rounds, 15-foot reach
Ranged warped world +15 (2d4+7 A)
Statistics
STR +4; DEX +2; CON +0; INT +2; WIS +1; CHA +5
Skills Bluff +19, Culture +14, Diplomacy +19, Intimidate +19, Sense Motive +19, Stealth +19
Languages alltongue
Other Abilities alltongue, feats (Improved Demoralize), isolation (DC 19), warped world
Ecology
Environment any
Organization solitary, pair, or infestation (3–6)
Special Abilities
Alltongue (Su): The Slenderman can speak and understand all spoken or signed languages, and is always able to be heard, even in areas of deafening sound and by creatures without a sense of hearing.
Isolation (Su): The Slenderman is a creature of isolation, and this extends to efforts to communicate with people far away by magical or technological means, or even just shouting. Anytime a creature within 300 feet of the Slenderman attempts to send or receive communication with anyone or anything not in their line-of-sight, they must succeed at a DC 19 Will save. On a failed save their radio turns to static, magic spell returns just whispered howls of pain, or their scream seems to die as soon as it leaves their throat. Once a creature fails this save, the condition prevents any communication beyond line-of-sight until it gets more than 300 feet from the Slenderman.
Any effort to record or preserve any image or sound of the Slenderman also requires a successful DC 19 Will save, with failure resulting in just a vague blur or feint whisper, or a picture of what appears to be a tall, thin, but mortal man in a suit, with a blurred face.
Only the Fearless (Su): Those who know fear find themselves nearly unable to damage the Slenderman. When a creature is suffering a fear effect (including the Slenderman’s own Intimidate check with Improved Demoralize), the Slenderman reduces damage from any attack they make by 10 points, regardless of damage type.
Tilted Away (Su): The space the Slenderman is in seems to ripple and roll away to make it difficult to make ranged attacks against it. Any ranged attack made against the Slenderman at a range greater than 2 feet grants the Slenderman concealment.
Warped World (Su): The Slenderman can reach out a long, crooked finger and cause someone to have a sense the world is spinning and twisting, wrenching their organs and insides as if they were being wrung out like a rag. This is a ranged acid attack against EAC, has a range increment of 50 feet, and has Knockdown as a critical hit effect.

Apóleipa are a form of fey native to the Plane of Shadow that represent the unformed fears of spaient creatures. As cultures form specific fears or hatreds, various apóleipa form to both try to stoke these negative feelings of natives to the mortal world, and to feed on them. Among the most recent form of apóleipa are innocence-eaters, also known as Slendermen, who feed of a sense of loss of innocence and self-loathing at having done horrid things. They operate mostly in places already suffering from great tragedy or resentment, often on the fringes of society, and seek to convince the most vulnerable members of these places to take actions that will deepen the fear and despair of the population.

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Owen Explains It All – Textile Characters for Starfinder

Before we get to any OGL content, an editorial aside:

First, this blog has spoilers for an animated series, so if you want to avoid those, don’t read this.

Second, you may be wondering why is this tagged as an “Owen Explains It All” post, when that’s very unlike my normal marketing tone? Well, because this links into a show from the BAMF podcast I’m on, titled “Owen Explains It All!“. We do an episode every two weeks, picking new things from the zeitgeek to use as inspiration for game material, specifically the Starfinder Roleplaying Game.

We have a logo and everything!

(I guess I need to build that chair, now…)

If you haven’t already gone and watched the September, 2021 episode, we talk about the fifth episode of Marvel’s What If… series, titled “What If… Zombies?” Obviously there are spoilers for that episode both in the OEIA episode, and this tie-in blog, so go no further if you want to avoid those.

I mean, obviously, while it’s pretty clear from the title that this is the Marvel Zombies inspired episode of What If…, I’m going to be talking about some things that aren’t necessarily clear just because there are zombies involved. So, if you want to avoid spoilers for this (or, weirdly, the Disney Alladin movies), I’ve given you fair warning.

Ready?

So in the episode, we see Doctor Strange’s Cloak of Levitation act entirely of its own accord. It does this in the Strange movie, of course, but here the doctor is no longer around to even subconsciously direct it, and the cloak makes tactical decisions, puts itself at risk, and makes a friend. In other words, the cloak acts not like an object, or a power, but as a character. And I was immediately reminded of Carpet, in the Disney Alladin movies, which similarly shows bravery, or fear, or whimsey, and is clearly more a person than a thing.

And, I realized, that would NOT be hard to make an option in a ttRPG.

Now with that explanation out of the way, let’s get to the OGL game content!

Playable Textile Characters

Okay so, look. This is for people who have decided sentient magic items that happen to look like capes or carpets or sashes or whatever are no sillier than, and need not be restricted any more than, robots with healing circuits, floating brains with atrophied limbs, or 6-armed overhelpful furballs. Either you like the idea, or you don’t. I’m here to provide rules for people who do, not try to convince people who don’t to change their minds. 🙂

Weft

The weft are living, self-aware fabric magic items, and no one is sure where they came from. Are the living cloaks and rugs an offshoot of cloakers? Are cloakers some kind of morlock offshoot of the weft? Are fabric magic items simply more prone to gaining self-awareness than other forms of eldritch items? Is there some artifact loom, somewhere in the galaxy, cranking out cloth-people?

Like androids, weft are constructs that have sufficient complexity to attract a soul. Also like androids, when a weft is old enough, it simply chooses to let its soul move on, it’s body briefly being an inert length of cloth that changes color in a process known as “dyeing,” before a new soul moves in, and a new weft person arises in the same body. No weft remembers its creation, and it is unclear if this is because all original weft dyed long ago, of because even a “newborn” weft doesn’t become self-aware until removed from its place of origin.

While the majority of weft appear to be carpets or cloaks and capes, some instead take the appearance of coats, sashes, shawls, curtains, and other fabric objects.

(Art by vivali)

Ability Modifiers +2 Dex, +2 Cha, -2 Wis
Hit Points 2

Size and Type
Weft are Small, Medium, or Large constructs with the magical subtype, though unlike other constructs, they have Constitution scores. This decision is made at character creation and can’t be changed.

Blindsense
Weft’s sensitive fibers grant them blindsense (vibration)—the ability to sense vibrations in the air—with a range of 30 feet.

Living Threads
In addition to being constructs and thus able to benefit from spells like make whole, weft count as living creatures for the purposes of magic healing effects that work on living creatures, though the number of Hit Points restored in such cases is halved. A character must use the Engineering skill (or a fabric creation/repair Profession skill) to perform the tasks of the Medicine skill on weft. Weft also heal naturally over time as living creatures do, and can benefit from magic or technology that can bring constructs back from the dead, as well as effects that normally can’t (such as raise dead).

Silent, Sign, and Limited Telepathy
Weft do not speak, but can hear normally and communicate through signed versions of the languages they know. Also, they can communicate telepathically with any creatures within 30 feet with whom they share a language. Conversing telepathically with multiple creatures simultaneously is just as difficult as listening to multiple people speak.

Drape
A weft can share the space of an ally without penalty to either the weft or ally. A weft can also drape itself on a creature willing to let it do so. At the beginning of its turn, the weft must decide if it is riding (in which case it can take no movement that turn, and only moves when the creature it is draped on does), or carrying (in which case it can carry the creature as it moves, but that creature cannot take any other movement until the beginning of the next turn). An ally can decide to stop allowing a weft to drape at any time as part of any action, but if the character was carried by the weft, it still can’t move on its own until after the weft’s next turn begins.

Additionally, whether is it draping or not, as a full-round action a weft can lay and move in such a way as appear to be a typical cape, or carpet (or whatever one mundane cloth object it matches the appearance of, as selected at character creation) to gains a +20 bonus to Disguise checks to appear to be that thing.

Woven
Weft are immune to bleed, disease, death effects, poison, nonlethal damage, and sleep effects unless those effects specify they affect constructs. Weft can be affected by effects or spells that normally target only humanoids, but receive a +4 racial bonus to saving throws against such effects. Weft can drink (absorbing liquids into their fabric), though they don’t need to, and they must rest by entering an passive torpor that is similar to sleep for 8 hours every day. Weft do not breathe or suffer the normal environmental effects of being in a vacuum.

Wrap Up

So, have different ideas for a weft character? Got other magic items you think could be turned into playable species? Interested in having me Explain It All for some other media-inspired content? Leave a comment and let me know!

(This is an Extended Post, with additional material discussing weft as drones for mechanics and technomancers, exclusively on my Patreon for my supporting Patrons.)

Top Ten Things Wizards Watch on Crystal Balls When They Think No One is Looking

Top Ten Things Wizards Watch on Crystal Balls When They Think No One is Looking

We know what videos people watch in the modern world. But what visions are popular in a crystal-ball enable fantasy reality? You can use this for background info in a typical fantasy game, or along with my list of Top Ten Modern Crystal Balls, or just giggle and never think about it again.

10. Cat Visions
Most of the ethereal plane is just filled with visions of cute cats. Often paranormal cats. Winged kittens playing with floating baby flumphs and chimera cubs chasing their own dragon-heads are particularly popular.
9. Critical Hit Visions
It’s often entertaining to watch heroic people to amazing things, and cheer their spectacular successes!
8. Critical Fumble Visions
But it is MUCH more entertaining to watch people accidentally hit themselves in the head with the sharpened bottom end of a gnomish hook hammer, or wrap a spiked chain around their own legs.
7. Waterfalls and Thunderstorms
A lot of mages tune in to tranquil sounds to sleep. … Others know air and water elementals want them dead, and keep a constant, paranoid watch out on any scene that might hide a rogue wave or ill wind plotting their death.
6. How-Do Ritual Demonstrations
Once you have a crystal ball, it’s a good idea to expand your repertoire of rituals… especially privacy rituals that keep other people from watching visions of your critical fumbles.
5. Reaction Visions
If you know where to watch, you can see the looks on adventurer’s faces when they discover the “white dragon” they were hunting with flaming weapons is a “wight dragon,” an undead fire dragon immune to both flame and ice.
4. Make-Up Tips
Face it, people just take mages with on-point eyebrows more seriously, and there’s a fine line between the perfect “necromancer eye” look, and people thinking you have smudged soot on your face.
3. Tick Tock
No one is sure why, but the Paraelemental Plane of Clockwork has a lot of dancing on it…
2. Previews
Okay, okay, technically this is “prognostication,” but seeing snippets of the future is just a form of previews, right?
1. Porn
Look, we all knew this was going to be #1. And if we hadn’t lumped all porn sub-genres into one category? Then the whole list would have been porn. Some extraplanar entities make a living with acts of lovemaking mortals can barely comprehend, which can only be viewed by mages who pay to know the password to scry past the “wall of pay” warding.

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Ned Kelley vs Dracula. A Timeline

A timeline.

1431. Vlad Tepes III, Prince of Wallachia, is born in Sighişoara, Transylvania.

1441. Vlad is knighted into the Order of the Dragon, the youngest noble to ever receive this honor. The order’s primary goal is to destroy the Ottoman Empire. Vlad receives the right to be named “of the Dragon,” or “Drăculea.”

1442. Vlad and his older brother are imprisoned in Tokat Castle, in northern Turkey, and held as hostages to ensure that his father, who is waging war against the Ottomans, does so honorably. The Tepes brothers are treated well, and educated and taught science, philosophy, the arts, and even allowed to continue their martial training.

1444. Chaffing under his imprisonment, Vlad III seeks additional, darker educations. He managed to communicate with a secret agent of the Scholomance, a school of sorcery that is ruled by the Devil and demands the soul of 1 in 10 students as payment. Vlad excels in these dread powers, as he has excelled at everything he has attempted.

1446. Vlad’s older brother is allowed to join his father. Vlad redoubles his efforts to master sorcery.

1447. Vlad completes a complex ritual to force fate to arrange for his release. Vlad’s father and brother are killed by Vladislav II with the support of the Ottoman Empire, and Vladislav takes control of Wallachia. Considered no threat as a deposed younger son, and having hidden his fouler education from the jailkeepers he has largely charmed, Vlad is allowed to leave as long as he vows never to take up arms against the Ottomans.

1448. Backed by King Ladislaus V of Hungary, Vlad takes up arms against the Ottomans, and Vladislav. He fuels his victories with a combination of personal combat prowess, tactics, strong leadership, and blood magic using the fresh vitae of fallen soldiers and civilian victims on both sides.

1453. Constantinople falls. Vlad III takes control of Wallachia, and continues to wage war against the Ottomans. Insisting on continuing the war does not sit well with the boyars under his command. He has them impaled, and gathers and preserves the blood for more sorcery.

1462. Vlad is deposed as Prince of Wallachia by Mehmet II. Vlad flees into the mountains, and returns to the Scholomance for further training, doubling the chances his soul will be demanded as payment by doing so.

1476. While leading a scouting party to set an ambush to destroy Mehmet II, Vlad and a small guard are themselves ambushed and his men are all slain. Vlad appears to be dead, but has been performing blood magics in preparation for this day for decades. Though his own flesh dies, its living functions are supported by the vitality of the blood he has hoarded.

Vlad flees into the mountains, and begins building a hidden network of agents and apprentices he has trained in scraps of the Scholomance lore he knows, plotting Mehmet II’s death. He sustains himself with magic performed with small, voluntary donations of blood from loyal followers.

1481. Vlad unleashes a curse on Mehmet, slaying him. However, Mehmet had powerful supernatural protections of his own, woven by Gileadian talismancers and astrologers, who were tolerated by the Ottomans. Vlad suffers massive eldritch backlash, and his need for blood intensifies. He also suffers a need to draw strength from the earth, preferably in a stone vault, and a vulnerability to many holy words and objects.

For the next 400 years, Vlad Tepes, the Drăculea, and the Gileadian champions of peace and life known as the Hieremias (or ‘Weeping Prophets,’ as they can invoke a sight to pierce illusion which turns one eye blue briefly and causes it to weep tears of blood) wage a secret occult war against one another in eastern Europe. Drăculea is impregnable in his hidden mountain fortress Nefartatul, but lacks the resources to strike far from there. He trains Sfinții Dracului (‘Saints of the Dragon’) to act as his agents and form secret cells of those loyal to him, but they cannot overcome his enemies without being revealed and then destroyed. The Hieremias seek to find a way to cut Drăculea off from the safety of the earth and stone, but must be close to Nefartatul to do so, and suffer great losses in the efforts. Over time, both groups grow weak and are vastly reduced in numbers.

1536. King Henry VIII deposes the FitzGerald dynasty as Lords Deputies of Ireland. A group of Hieremias rush to Ireland to recover and protect ancient Ottoman relics that were in the FitzGerald’s hands. A small group of these remain in Ireland, using the chaos between Catholic and Protestant forces to remain largely unnoticed. They marry in to local families, and pass on much of their mystic lore. Those families become known as “Cuidightheach,” or “The Helpful Folk,” and “Mac Óda” or “son of Óda’ (Óda being a nickname given to one of the original Hieremias to arrive in Ireland).

1691. The Irish Catholic Jacobites surrendered at Limerick. Among them are several families descended from the “Cuidightheach” and “Mac Óda,” though these names have become the family name “Cody.”  

1800. Mary Cody, a strong scion of the Cody linneage, is born in the Irish townsland of Clonbrogan.

1820. Mary Kelly ne Cody gives birth to John Kelly.

1840. John Kelly is transported to Australia as punishment for the crime of Pig Stealing.

1845. The Irish Great Famine of 1845 – 1847 begins.

1854. Ned Keely is born in Victoria, Austalia, the third of eight children of John Kelly and Ellen Quinn. He grows up to be a bushranger, a criminal who operates out of the wilderness in Victoria, Australia.

1877. Dracula travels to London by ship, consuming all aboard.

1878. Dracula is nearly destroyed by Professor Van Helsing and his allies. The Dread Lord successfully fakes his destruction, but must flee from eyes that will watch for him in England and Transylvania. Needing a place civilized enough to provide sustenance, and considered dangerous enough for his kills to not immediately raise suspicions, Dracula takes passage to Australia.

1879. Dracula uses his experiences in England to successfully introduce himself into British nobility in Victori, and begins to take control of it

1880. Ned Kelly, bushranger, famously dons heavy armor to survive various shootouts with Victoria police and army forces. Kelly’s crucifix, passed down from the Cody line, reveals one of the sheriff deputies he shoots to be a Sfinții Dracului, and realizes Vlad Tepes, the Drăculea, is present in Australia.

He begins gathering forces to support him in a crusade against the undead prince.

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Top Ten Modern Crystal Balls

I love stories that mix magic with a range of modern time periods and aesthetics. Inspired by some such stories, I’ve come up with some modern stand-ins to be used in place of crystal balls by urban, modern fortune-tellers.

Top Ten Things Modern Diviners Use as Crystal Balls

10. Magic 8-Ball
No one ever expects the Magic 8-Ball toy to be, you know, magic. But it’s a perfect place to hide your real scrying lenses, and already thematically aligned with divination energy.

9. Mirrors
They’re a classic, and remain a popular choice for modern spellcasters. however, the big wall-mounted mirror is no longer the standard for scrying mirrors, though some older models still exist. Instead scrying is more often done through bathroom mirrors (good for early morning divinations), car rear-view mirrors (especially for threats that are closer to you than they appear), and make-up compacts (which are particularly good for showing you your own faults).

8. Pocket Watches
While a few modern spellcasters have turned wristwatches and even step-trackers into crystal ball equivalents, its much more common to use pocket-watches for this. The practice dates back to the 1800s, when the devices were far more common, but the protective cover, larger viewing surface, and psychic link to conductors on railways (often built along ley lines) still make pocket watches better divination tools than more modern timepieces.

7. Mashed Potatoes
As homaged in the movie “Close Encounters of the Third Kind,” it turns out Starchomancy remains a powerful tool for foresight. Visions sometimes form within the mash itself, and other times the scryer finds themselves sculpting the vision received. The loss of scrying power is somewhat offset by the ease of acquiring and concealing the tools of divination.
This works best if you make your own mashed potatoes, but if you don’t have the time, store-bought is fine.

6. Fireball Whiskey
Long thought to just be catnip for college kids, it turns out cinnamon-infused spirits are a powerful medium for seeing visions, dating back to the temple of Apollo at Miletus. The bottle itself is most commonly used as the scrying surface, with the whiskey inside becoming briefly cloudy as it fills with visions.
A single drink of the whiskey can aid in divination, but more than that is a terrible idea.

5. Giant Novelty Dice
Though divination through casting lots with dice (a form of cleromancy) is common, using dice as crystal ball stand-ins is increasingly popular, using giant translucent dice the size of your fist or bigger. There is a direct correlation between the number of faces of the ide used, and both the complexity of the divination and the level of detail. A d6 may not tell you much beyond broad strikes, but it easily scryed with. A d100 takes much, much more effort, but a successful scrying gives you many fine details.

4. Cats
Yes actual, living, fur-covered cats. There is an entire school of scrying dedicated to feeding a cat a favorite feast, brushing them, luring them into a pillow, in a box, in a beam of sunlight, and then staring deep into their fur to foresee the future. While this is much harder to do on-demand than inanimate scrying tools, there are numerous curses and supernatural threats that can be detected by ailouromancy that other soothseeing methods miss.

3. Smart Speakers
While newer technology often takes time to be properly aligned with divination rituals, interactive smart speakers apparently come almost ready-made to be turned into crystal balls–though most use a purely auditory interface, rather than the old visions viewed without crystal-covered mists.

2. Stock Ticker
From 1870 to 1970, stock prices were broadcast via telegraph/telephone lines to stock tickers, then printed on ticker tape. While no one uses stock tickers anymore, many were enchanted during the near-century of their use, and those enchanted stock tickers are still powerful divination tools… especially if you want to predict financial news.

1. Old Computer Monitors.
The better the color and resolution, the better the vision you can get on it! Know someone with a pile of old computer monitors? They’re probably a modern spellcaster!
Or a hoarder.
Or both. Both is likely.

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Random Idea Generation Methods. 1. The Reverse and Twist

Sometimes, I just need an idea to play with. I may need a starting point for a new project, or some color and side-thoughts for a bigger ongoing work. Often I just generate new random ideas as a palate-cleanser when I need a break from something I am grinding on. Other times I want to throw ideas out to other people, either for fun or to jump-start their creative processes.

Now if I am lucky, a random idea just comes to me when I need it. Or, if one comes when I don’t need it, I can jot it down with just enough detail to come pick it back up later.

But more often than not, i have to generate an idea, and when i have to come up with dozens at a time, I have verious methods I use to do that. Here’s one”

Reverse/Twist The Starting Point

This is one of my favorites, and it’s a good way to use inspiration without turning everything into a pastiche (or rip-off). The basic idea is to take the core premise of an existing setting or story you like, and make a major change to it. Then, you follow the permutations of your new set-up.

For example, take Moby Dick. It’s a captain’s obsession with getting revenge on a whale. It’s compelling, but it’s also been done and redone hundreds of times. So, what if we reverse a number of elements.

Our Captain is still a whale hunter, but he has not a care in the world. The Red Demon, which may or may not be a whale but is certainly a sea creature, seeks to destroy the captain as revenge for the captain slaying the Demon’s mother. We still have stories of obsession and revenge, but now our focal human point is ignoring the risks, his arrogance convincing him that even if the Red Demon is real, it’s a brute animal, and he has all the advantages of human civilization and intellect to overcome it if it ever finds him.

Now, the inspiration for that idea are pretty clear. That’s fine–the starting place of a story, setting, or even writing prompt is only a small part of the work of making something. But once you have that nugget, you can twist and add/alter as you see fit. Instead of a whale-hunting captain hunting you could have a famous ivory poacher, clearly a villain and an up-and-coming local warlord–who does worry about human threats (and perhaps kidnaps a journalist to tell “his side” of his story, giving us our narrator), but ignores local legends of a Red Demon elephant out to get him, even when other poachers are slain by it.

The further we get from the trappings of the original idea, the more our end product will be clearly its own thing.

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Otherworld: A Mode for Wayward

One of my Shower Projects recently (things I only spend time thinking about while showering, making lunch, and so on) has been what my Modes (pocket parallel worlds that overlap with the “normal” world of the Ecumene may look like in the  Wayward campaign setting I hope to eventually release (as a private individual) for Modern AGE through the AGE Creator’s Alliance.

I’ll want my Modes to be distinct, different, yet feel like they belong in the same sets of stories. Two have already suggested themselves to me.

The first of those is Otherworld, a mode where creatures from various afterlife mythologies (Valkyries, angels, devils, ghosts, and so on) live and interact in a version of the modern world where every town, or every neighborhood in big cities, has a single distinct character. Svanrcroft is tall stone buildings, broad, tree-filled lanes, and massive rock municipal buildings and concert halls; Latssvin is another neighborhood in the same city across the river from Svanrcroft, and is entirely rusting steel, cracked concrete towers, and brutalist sprawls with homes and businesses and offices crammed in with little rhyme or reason.

Each of these distinct neighborhoods is controlled by one afterlife group that serve much like some combination of street gangs, neighborhood watches, local beat cops, organized crime, and community centers. Major otherworld creatures mostly believe they are agents of divine beings, getting their “orders” from what appear to be entirely random sources — the Valkyries of Svanrcroft believe they receive orders from Freyja in the form of messages written on Brísingamen-brand food and drink packages, but to anyone else they just seem to be random, common commercial quotes.

Common citizens of the Otherworld are shades of Ecumene folk who have died, living agelessly in very much the condition they were in shortly before they died (though obviously ways to get better if sick, or younger if old, will be major potential plot drivers for Otherworld adventures featuring shades). The status of shades within Otherworld influences how they are remembered in Ecumene — a great writer whose shade has suffered misfortune and poverty within the Otherworld slowly loses their place of relevance and fame in Ecumene.

When major forces from Otherworld influence Ecumene, they tend to be voices heard by Ecumene commoners, who are driven into zealotry. A single Otherworld creature may be occasionally whispering to dozens of Ecumeners , or be spending vast amounts of time influencing a single person. Those affected are encouraged to perform acts, rituals, or influence world events in Ecumene that grant an Otherworld faction more prestige, power, and territory within Otherworld. Left unchecked, Ecumeners under Otherworld influence become Zealots, and begin to actually be able to bring tiny bits of Otherworld (and its Mode rules) into corners of Ecumene.

Within Otherworld, heroics are commonplace and easy, spellcasting is hard. This will be handled with some combination of special rules for stunt points — something like, whenever you reference the value of the stunt die (including when you roll doubles and need to determine the number of stunt points you get) you use the highest value die of your roll, rather than the stunt die–and special hindrances for spellcasting.

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Appendix O: The Ladies’ Sewing Circle

This is a group I have put in a few ttRPG homebrewed worlds, brought forth from the old files of my hardrive.

The Ladies’ Sewing Circle is, on the surface, simply a regular gathering for women of different backgrounds and social classes to get together and sew. Officially, the purpose is to trade sewing tips and tricks, and perhaps combine efforts on larger projects, and the cross-class nature of the circle is promoted as a way to ensure the important skill of sewing is not allowed to degrade within a culture, and to act as a back-channel for issues to be shared from member to member. Usually any woman of good standing may attend, picking up sewing skills if she doesn’t already have them, and gatherings are hosted by senior members. Where those members have space under their control, such as a dressmaker with a shop or a lady with a manor she can use, the meetings are private. In other cases, they occur in public meadows, or the town square, or a barn borrowed from a farmer in return for one new quilt a year.

But beyond that official and public purpose, the Ladies’ Sewing Circle is actually a powerful equalizing force with society. The senior and full members can communicate through stitch-speech and sewing patterns kept secret for generations, allowing them to talk secretly while in full view. And when the Sewing Circle comes to a consensus that an issue would be solved by someone dying, that person is assassinated.

Most Sewing Circles have a few different assassins working for them. Often these are members of he Circle itself, with a few women usually trained in slitting throats and choking foes, as well as stealthcraft. Less commonly, the Sewing Circle may outsource their killing, generally to a trusted ally (sons, daughters, brothers, aunts, and uncles of members are all common choices) who may have had their assassin training and gear paid for my the Circle. In cultures where some specific method is seen as a woman’s way to kill (such as poison, summoning magic, or archery), that method is least-used by the Circle just to ensure suspicion doesn’t fall on other women inappropriately.

Most Sewing Circles keep their assassination rate quite low, less than one per year, though in more dangerous or higher-population areas they may well feel comfortable doing more. When extrajudicial killing is not needed, their resources turn toward spying, exposing secrets detrimental to the public good, and information gathering. Since each ladies’ Sewing Circle is self-government, their methods can vary wildly. Some never resort to assassination, depending on rational discourse and gentle cultural pressure to achieve their ends. Others prefer to used late-night warning visits to push public figures towards more desirable behavior. Others ruthlessly kill, and main and steal, as needed to carry out their goals.

In all cases, the Sewing Circle is publicly well-insolated from all its actions. It’s commonly known that the members talk among themselves, and thus their opinions are spread to multiple households. Wise local authority figures see a Circle as a place to make announcements and receive feedback, even without any inkling that the members may be actively engaged in shadow actions. But any hint that a Sewing Circle is some kind of politically active group that has resources beyond needle and thread is considered laughable.

It’s important to note that this concept can be applied to any group that isn’t normally already gathering to make law and enforce their will, and have some excuse to do so that the powerful members of the culture approve of. In an absolute monarchy, you could have the Noble’s Hunting Lodge, where nobles gather to arrange hunts and other entertainments for the Royal’s amusement. In a rigidly hierarchal church you could have the Incensor’s Affiliation, where the lowest-ranked acolytes discuss incense-management and cleaning. In a totalitarian nation you might have the Rulekeepers, common folk who specifically get together to go over how the government wants them to behave. In High School you might have the Extra Study Club, where students gather to tutor one another in a display of self-motivation.

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Appendix O – Ragabonds

I originally presented the idea of Ragabonds, a form of fantasy migrant culture not built directly off any real-world society or group, in a series of Twitter posts. But some people asked if I had compiled them, so here they are. 🙂

Ragabonds

No one knows the Ragabond Rules’ origin, which state that Ragabond kithpacts must be allowed to travel freely. While many kingdoms that follow the rules allow nearly anyone to travel freely if they didn’t otherwise cause trouble, the Ragabond Rules are respected by numerous tyrannies, totalitarian theocracies, even dragons and devils.

The Ragabond Rules predate the elven empire of Te Astra, the Pact of Akkesh, and even the Tarsian Palatinate, but are not as old as the Jotunlaw or Drakkenjar. Further, while no divination can reveal any reason why, rulers who violate them tend to come to bad ends.

Thus for centuries, Ragabond Kithpacts have wondered freely through lands blessed and cursed, rich and poor, bright and dark. If they interfere in local matters individual Ragabonds lose their protection, but are still excellent sources of trade and news. Of course the Ragabond Kithpacts also have restrictions imposed by the Rules. None may band themselves in armors, gather in numbers more than 120, or be in sight of the same drop of water, green of plant or pinch of earth for more than 90 days or each year. Freedom costs stability.

Each Kithpact addresses these needs in their own way. Some form caravans of pachyderm-carried houdahs, or horse-drawn carriages, or well-laden mules and horses. Others travel in small fleets of nimble boats, or exist as walking nomads, carrying all that they own on their own backs or in travois.

Most Kithpacts have a route they travel over 2-3 years, ensuring they never risk overstaying their time in one place. Even so, these often take them through many different lands, leading each Kithpact to pick up some notes of multiple societies and cultures. A Kithpact is likely to have drawn music, art, language, mysticism, religion, stories, crafts, lore, and traditions from many lands–some from their current route, others from lands traveled centuries ago. Only adherence to the Rules themselves unite all Ragabonds.

Every few years, numerous Kithpacts will gather in a land that allows such things, sometimes called a Pactdom. this is a time of great celebration, but also a risk. As soon as more than 120 Ragabonds are in one place, the Ragabond Rules no longer protect them.While each Kithpact is unique, those of one Pactdom are often similar, and may answer to a single Ragabond Matron, or a Council of Caravan Masters, or the Bishop of Rags. These governments are separate from the Ragabond Rules, but no less rulers of their citizens than any landed nobility.

Most Kithpacts are made up of the same peoples as the lands they travel, and recruit new Ragabonds when their numbers are low. Multiple ancestries and ethnicities are often found within one Kithpact, and their bloodlines are as intermingled as all their culture. Freedom is crucial to all Ragabonds, and the willingness to give up nearly everything to be free is the one thing that is common to all of them. A Ragabond that lacks that drive eventually leaves their Kithpact, and settles down in one place.

Ragabonds are often misunderstood by the cultures they interact with, but not more or less than other foreign lands. They may be seen as flighty for not setting down, or shameless for having little room for modesty, or evil for mixing multiple traditions and religions together. For some Pactkiths, these things are largely true. For others, they aren’t. For many, it depends on the Rangabond. But Ragabonds all have advantages in wide perspective and eclectic training, because they move freely through lands where others dare not, or cannot.

The Rules

The Ragabond Rules state that Ragabonds must be free to travel, trade, talk, sing, craft, perform, and be free of harm or harassment.

These protections last only as long as the Ragabonds themselves do not violate the Rules, requiring them to wear no armor, gather in no number greater than 120, and to take to action to harm the bodily person, wit, or livelihood or any they encounter unless the Ragabond believes doing so is mandatory to keep their own body, wit, or livelihood secure, and even then only in even and minimal measure. This doesn’t mean Ragabonds are all pacifist or vegetarian (though some are). A hungry Ragabond is free to hunt if needful to nourish themselves, and free to study fighting and use it whenever threatened if they fear there is no hope for peaceful safety.

The Ragabond Rules also require Ragabonds to shun for a year and a day any of their own they find to have broken the Rules willfully or foolishly. Those shunned spend that time unprotected by the Rules, though they may (or may not) still travel with their Kithpact.

Ragabonds are treated with suspicion in major towns and cities in Merothia, but seen as trade and news lifelines in smaller towns and villages–though if local youth choose to become Ragabonds themselves rather than aid in their parent’s farms and shops, that can breed ill-will with the abandoned families. Older empires tend to see them as annoyances–not a danger, and not worth struggling against, but not a group you are happy to see walk down the road. Less established groups and marginalized people often welcome Ragabonds as kindred in their lack of towns and walls, though this feeling isn’t always reciprocal.

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Building New Things That Feel Iconic

I love making new fantastic things. Not just “fantasy” things, but amazing and otherworldly things you could find in supers stories, or ancient mythology, or scifi, or weird west tall tales, or all of the above.

I especially love to make new things that feel like they have a long, established, iconic niche even if they are brand new. Obviously that’s a great *goal*, but it’s extremely difficult to do without making something that’s just a pastiche. It’s also extremely difficult to know when you have succeeded.

I do have some tricks I try to apply. Firstly, I often find if I can’t explain a thing within the number of characters allowed by a Tweet, I don’t have a firm enough grasp of what the core of that thing is. Second, I try to think about what the base of a thing is, and what the expansion is.

For example, today I had an idea leap into my head (likely due to insomnia-induced fatigue toxions) which I described thusly:

Ghortal are 7-8 foot tall unguligrade bipeds with roughly bull-like heads featuring tusks and 2-7 curling horns. Immune to undeath, if infected their faces take on skeletal features as their aging slows and they gain occult power.
They have a strong clan structure.

The base of ghortal is clearly that they are a kind of minotaur-kin, though with tusks and more horns. But then the idea is expanded to give them a special immunity to undeath, and a reaction to undead exposure that’s unique to them.

Minoaturs are clearly iconic, and there are a lot of similar beast + biped creatures in myth and fiction. Bovine skulls being used as masks and symbols is also extremely common, so I wanted to find a neat way to combine those into my minotaurs-with-extra-pointy-bits concept to make ghortal new and more interesting.

As for how I know when I have succeeded — it’s always a matter of how other people take to the idea.

But it’s sure a good sign when a professional cartoonist is so taken by the idea, they do art for it. Relatedly, here’s art the amazing Stan! did after reading my ghortal post earlier today. 🙂

Image

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